The Trektastic Voyage in Drydock...

Captain's Log: 4280.7. 1102 hrs.


It's been almost two months since I last updated The Trektastic Voyage or watched any episodes.

I just have too much going on that takes priority over TTV.

However, I am not putting this year long Trek in mothballs, just putting it in drydock until I'm ready to get back to the voyage.

In a few weeks, I will be done with both my semester at UL and this academic year at VC, and I'll be returning to TTV and getting back on track.

So please beam back aboard then as The Trektastic Voyage enters its final four months!

Chris Meaux

"A Private Little War"

The Enterprise returns to a planet home to extremely peaceful people and of exquisite natural beauty, a veritable Eden. Kirk had visited the planet on his first deep-space mission thirteen years earlier, and is excited to return and witness the progress of the peaceful inhabitants, whose developmental level is pre-industrial. Kirk, Spock, and McCoy are conducting a covert survey of the planet when they discover that a faction of people on the planet are armed with flintlock rifles, technology they should naturally be far from developing. The gun-bearers are about to ambush their enemies, the tribe with whom Kirk made friends years ago, armed only with bows and arrows. Kirk intervenes and saves their lives, but in their haste to escape and beam back to the Enterprise, Spock is shot by one of the Hill People. The three men beam back to the ship, where Spock hangs on the edge of death and Kirk learns that the Hill People have been armed by the Klingons as a means of taking over the planet. Kirk and McCoy return to the planet to search for Tyree, Kirk's friend from his first visit. Kirk is attacked by a Mugatu, a deadly creature native to the planet, and is cured by Tyree's mystic witch-like wife, Nona. Kirk tries to persuade Tyree to fight with weapons the Federation will provide for them, realizing that both sides must be equally armed if the planet's survival is to be ensured. In the meantime, Nona steals Kirk's phaser but is killed by the Hill People. Her death convinces Tyree that he must use force against the Hill People. Kirk and McCoy leave the planet, deeply saddened that they could not end the conflict, and instead made it worse by offering a balance of power.


Story

"A Private Little War" is one of Star Trek's most powerful hours. Genre Roddenberry conceived of Star Trek as an outlet for addressing the social issues of the time, one of which was the Vietnam War. "A Private Little War" was filmed while the war was still ongoing, and is the show's commentary on the conflict. In fact, Kirk mentions in his explanation to McCoy about arming Tyree's people that, like in certain "Old Earth" conflicts, there must be a balance of power. The episode is extremely effective as a commentary on the nature of war and the sadness of its effects, both on those embroiled in it and those who watch it from without. The episode succeeds in bringing the viewer lower and lower into the sadness and tragedy of the situation. It's clear once the viewer sees the Hill People armed that there's little hope for peace on this once idyllic world. The story also manages to hit all the right character notes, especially for Kirk, who has to struggle with the loss of his friend Tyree and worry about the life of Spock. The episode ends on a somber note, with Kirk lamenting that Starfleet's intervention with the people of the planet is simply the addition of even more serpents into Eden.

Action

There's a lot of fighting in "A Private Little War," which is appropriate, given the episode's title. There's a few fistfights, shooting, stabbing, phaser disentegrations, and even wild animal attacks. The scenes are never gratuitous here and are used to play up the tragedy of the episode.

Performances

The stand out performances here belong to Shatner and Nimoy, hands-down. Shatner especially carries the episode, and both he and Kelly are riveting in the scene when Kirk and McCoy argue heatedly over violating the Prime Directive. Star Trek is a show largely made by the efforts of its cast, and this episode is proof positive that the show was blessed by some of the most talented actors of the time.

Trektastic Moments

Kirk and McCoy's argument over the Prime Directive is classic Trek, as well as dealing with the problem of contaminating the natural development of an alien race. There's also the requisite fighting and commentary on the social issues of the day, an important part of all classic Trek.

Overall

A powerful, moving commentary on the futility and tragedy of war, done in the peerless Star Trek style. Highest possible recommendation.

The episode's title card.

The fearsome Mugatu.

Kirk and McCoy leave, hearts heavy as a society prepares for years of sustained conflict.

"The Immunity Syndrome"

The Enterprise is on her way to investigate the mysterious loss of contact with solar system Gamma 7A when Spock is the victim of a powerful psychic assault. He reports that he has just sensed the death of the all-Vulcan crew of the U.S. S. Intrepid. The Enterprise next encounters a "zone of darkness" which they quickly learn is a massive, amoeba-like single-celled organism. The creature is carving a path of destruction through the entire universe, and Kirk and Spock quickly realize that Gamma 7A and the crew of the Intrepid were among its victims. Kirk realizes that the Enterprise is the only hope of defeating the creature before it can end all life in the universe by reproducing. Spock suggests that someone pilot a shuttlecraft into the heart of the creature to determine its weaknesses, and both he and McCoy want to man the mission, but Kirk reluctanctly chooses Spock because of his Vulcan endurance. McCoy's description of all life in the universe taking the role of antibodies inside of the creature inspires Kirk to send the Enterprise into the creature as an antibody, where Kirk orders the detonation of an antimatter charge. The charge kills the creature just before it is able to reproduce, and the Enterprise finds Spock's shuttlecraft and proceeds on her way.

Story

While "The Immunity Syndrome" is a classic episode of Trek, it is really what is known as a "bottle show," an episode intended to save money by taking place completely onboard the Enterprise. The plot is not wholly original, seemingly tapping previous Star Trek episodes. The Enterprise had to stop the vampire cloud from reproducing and spreading death across the universe in "Obsession," and similar large-scale threats were faced in "The Doomsday Machine" and "The Changeling." What enables this story to avoid becoming a retread of past stories is the characterization, specifically, the elements of the story dealing with Spock and McCoy's friendship and Kirk's struggle in the face of seemingly impossible odds. Because of these classic Star Trek trademarks, "The Immunity Syndrome" takes its place as one of the classic episodes of the series.

Action

There's plenty of action in "The Immunity Syndrome," though it's all ship-based drama. The Enterprise must struggle to overcome to the draining power of the creature and goes through some rough riding in the process of finally destroying the creature.

Performances

The performances that make this episode belong to Shatner, Nimoy, and Kelley. Shatner yet again does a great job of playing a dauntless Kirk up against impossible odds, while Nimoy and Kelly both play their respective roles with the proper sense of playfulness and agitation. This is a crucial episode in the history of the Kirk/Spock/McCoy frienship.
Trektastic Moments

This is another episode that manages to be one long Trektastic Moment. The Enterprise faces a threat to all life in the universe and the odds are against their survival. Classic stuff. As mentioned previously, McCoy and Spock's banter and relationship here constitute Trektastic Moments, as well as the image of the giant space amoeba, a well-known and highly-regarded image in sci-fi history.

Overall

Despite a story similar to previous other Trek episodes, "The Immunity Syndrome" is a classic episode of Star Trek. Highest possible recommendation.

The episode's title card.

The Enterprise faces the giant space amoeba.

Spock and McCoy butt heads over who gets to rush to their death.

Update on The Trektastic Voyage

Captain's Log 03110.7 0914 hrs.

The Trektastic Voyage remains on course for September 8, 2007, but we're having some engine trouble along the way. Sounds like the Enterprise herself.

Anyway, I've been on course with watching the episodes and had the posts ready to go two weeks ago. The problem arose when the source of my screencaps, the wonderful TrekCore.com, shut their photo galleries down temporaraliy. I'd been waiting to see when they would return, but now, I need to post to the blog so I don't get too far behind.

After I post the write-ups from the episodes from two weeks ago, I'll write and then post the write-ups for last week. This week's episodes will be viewed and reviewed sometime in the middle of this week. By the end of this week, The Trektastic Voyage will be on schedule. Whether I'll continue to be able to use screencaps as part of this year-long journey remains to be seen.

Chris

"A Piece of the Action"

The Enterprise is ordered to planet Iotia to investigate and decontaminate the damage done to the planet's culture by the Federation starship Horizon a century earlier. The Horizon's crew accidentally left behind a copy of a book called Chicago Mobs of the Twenties. The highly imitative Iotians literally took the book as their own gospel, duplicating the ways of the gangs of old Chicago. The two biggest mob bosses on Iotia, Bella Oxmyx and Jojo Krako, want Kirk to furnish their respective mob forces with "fancy heaters," i.e., phasers. The purpose of this is clear: whoever has the superior firepower will rule Iotia. Kirk finally gives up trying to reason with the Iotians, instead playing by their "rules" and uniting the rival factions in a new world government under Oxmyx's control. Kirk convinces the Iotians that the Federation will return for an annual "piece of the action," and McCoy leaves behind his communicator. Kirk fears that with the transtator tech imbedded in the communicator, the Iotians might one day contact the Federation demanding for a piece of the Federation's action.

Story

"The Piece of the Action" is a downright unusual episode of Star Trek. It's another story that utilizes Roddenberry's "parallel Earths" theory, and does so to eliminate the cost of constructing new sets for alien planets and settings. The beautiful thing about "Action" is that the story works because of characterization and plot. One can't help but be drawn into Kirk's plight on Iotia, and though the stakes are very serious, i.e., the possible death of the main cast and the further contamination of an already contaminated society which is extremely violent, the episode never once becomes too serious. There's an energy and a sense of adventure throughout that makes "A Piece of the Action" one of the classic episodes of Star Trek.

Action

It's hard to avoid action when the word's part of the title. We've got Kirk, Spock, and McCoy getting captured, then getting the upper hand, then getting captured again. Fistfights and escapes, machine gun fire, and the stunning of a dozen or so people on the ground from the Enterprise's phasers. Tying it all together is Kirk's rather precarious predicament in trying to reason with an almost completely corrupted society.

Performances

Shanter, Nimoy, and Kelley really shine in "A Piece of the Action," as well as Doohan. You can tell everyone's enjoying the production of this fun episode, which allows the cast to dress in period clothing and interact in a period setting, surely a welcome change of pace from the usual starship and alien environments. Also critical to this episode is Vic Tayback's performance as Joe Krako. Tayback was best known to my generation as the irascible Mel on "Alice."

Trektastic Moments

The entire episode really is a Trektastic moment, in that it removes the crew from their usual setting and brings about truly classic moments. Kirk's attempt at creating "fizzbin," a fictional card game with which he's able to affect an escape, is a joy to watch. There's also wonderful, truly in character banter between Bones and Spock and great reactions from a befuddled Scotty. The best moments here occur when Kirk and Spock are out of their element. Watching Kirk attempt to drive a 1930s era vehicle is hilarious, but not nearly as funny as Spock's reaction to his captain's driving. There's also Kirk's mobster accent and his use of mobster jargon. One has to wonder how he picked all that up so quickly. Spock also has a great moment wherein he slips into the mobster accent for a line. Wonderful stuff all the way through.

Overall

"A Piece of the Action" is a classic episode of Star Trek, filled with the fun, light-hearted spirit of adventure that was so much a part of the original and best Star Trek. Highest possible recommendation.

The episode's title card.


The misunderstood "Mobster Bible" that causes all the ruckus on Iotia...



A Star Trek first: Spock and McCoy actually agree on something. For a second or two.



Kirk and Spock, the original gangsters.

"The Gamesters of Triskelion"

Kirk, Chekov, and Uhura are about to beam down for a routine mission when they are transported across whole lightyears to the planet Triskelion, where they immediately learn that they are to become "thralls," or gladiators used for the amusement of a race of beings known only as "The Providers." Spock faces a frustrated McCoy and Scott as he tries to find Kirk and the landing party, while Kirk has his hands full trying to keep himself and Chekov and Uhura alive through the torturous tutelage of the head thrall, Galt. The Enterprise locates Triskelion but is captured by the Providers, who wish to make thralls of the entire crew. Kirk proposes a wager with the Providers, who he learns were once humanoids whose mental prowess outgrew their need for physical bodies, and who are now merely disembodied brains. . Kirk bets the freedom of his crew on his ability to win in combat. If he wins, the thralls go free and the Providers train the thralls to live as normal people. If Kirk loses, everyone willingly becomes the thralls of the Providers. Kirk beats three thralls, including Shahna, with whom he became romantically entangled. The Providers free the thralls and the Enterprise proceeds on its way.

Story
"The Gamesters of Triskelion" is an interesting turn-around for the crew of the Enterprise. Instead of meeting an advanced alien race which is determined to help others less evolved, the crew meets aliens who would rather harm those less powerful than them. This provides Kirk the opportunity to represent all the best of humanity and to show the optimistic spirit of Star Trek. The show was always interested in portraying a positive future for mankind, which had overcome itself and united to reach for the stars. In "Gamesters," we see the heart of James T. Kirk in his treatment and teaching of Shahna. He models for her the selfless and optimistic behavior that has become the goal of all humanity in the 23rd century, and in doing so, encourages the viewer to hope that one day, such people with such ideals will indeed one day exist. Kirk never preaches to Shahna or tells her she's inferior. He instead chastises the Providers, challenging them to use their power with responsibility. In doing so, Kirk proves his own superiority as a being with values and decency.

Action

There's plenty of action to be had here, mainly in the form of the well-choreographed gladiator battles, though the real action comes from the ideological conflict waged between Kirk and the Providers.

Performances

Shatner deserves the most praise in this episode, as he manages to anchor both the action filled scenes and the quieter ones with Shahna. I've watched the character of James T. Kirk for most of my life, and thought I'd seen all the facets of him, but it wasn't until I saw this episode for the first time that I saw the very human and very tender side of Kirk. Shatner brings a humanity and compassion to the character of Kirk here that I was very glad to see. It furthers the notion of Kirk as a man who truly is able to be all things to all people in his role as captain of a starship and hero. Nimoy also performed admirably as a Spock confronted with the dilemma of finding his captain and friend while two other friends harp on him for adhering to his trusted sense of logic.

Trektastic Moments

The Trektastic Moments here come from the classic Shatner fighting, the Spock and Bones exchanges as the Enterprise searches for the landing party, and Kirk's romancing of Shahna. Pure Trektasticness!

Overall

An engaging and entertaining tale that hits all the right notes. A+

The episode's title card.


The frightening head thrall, Galt, who appears to need some serious moisturizer...

Kirk and Shahna share a tender moment.

Kirk challenges the Providers to reconsider their attitude towards the thralls.

"The Trouble with Tribbles"

The Enterprise rushes to the aid of Deep Space Station K-7, which has issued a Priority 1 Distress Call, used only in the most dire of circumstances. To Kirk's chagrin, he learns that the Federation Secretary of Agricultural Affairs, Nilz Barris, issued the call over what Kirk calls "a shipment of wheat." The "wheat" in question is actually a specialized grain called quadrotriticale, the importance of which is quite valid. Kirk is immediately at odds not only with Barris and his irritating assistant Arne Darvin, but also, with a contingent of Klingons led by Captain Koloth. As if that weren't enough, there's also the matter of space trader Cyrano Jones and his remarkably prolific pets, "tribbles." Kirk is ordered to protect the grain from the Klingons, who K-7's commander is obliged to allow shore leave on the station due to the terms of the Organian Peace Treaty. Kirk must juggle the Klingons, Barris, and the problem of the rapidly multiplying Tribbles, which are infesting the Enterprise. The Tribbles find their way into K-7's storage bins and devour the grain. When large numbers of Tribbles die, Spock realizes they've been poisoned, and Kirk figures out that the Klingons would have the most to gain from poisoning Federation foodstuffs. Kirk uses a few Tribbles as "Klingon-detectors" and exposes Darvin as a covert Klingon operative. As things return to normal on the Enterprise, Scotty informs Kirk that he beamed the entire compliment of Tribbles from the Enterprise aboard the Klingon cruiser, a parting gift to the Klingons, who hate the Tribbles as much as the Tribbles hate them.

Story

"The Trouble with Tribbles" is classic Trek at its best. The story by fan-favorite writer David Gerrold never lets up on wonderful character moments, action, and comedy. "Tribbles" is one of the episodes considered among the best by Trekkers, and the reasons why are clear even to the uninitiated Trek fan. The first time I watched this with my wife, she found a few parts cheesy, but laughed in all right places and enjoyed the episode. That's a testament to the episode's success and longevity. This is the kind of Trek story that has bridged the gap between fans and non-fans alike, and which inspired the Trek films which were able to do the same decades later.

Action

The action in "The Trouble with Tribbles" is not the usual flying-kick, phaser-firing, nerve-pinching Trek action. Instead, we're treated to action played for the sake of comedic relief. The episode opens with Kirk sounding battlestations as the Enterprise races to answer a distress call from a Federation outpost. In most episodes, this would pan out as the prelude to an action-packed space battle or perhaps landing party firefight. This is especially true in the later Trek spin-offs, which all too often relied on flash and gunfights instead of substance. Once Kirk and Spock beam aboard K-7, we realize this is not to be the usual kind of Trek action episode. Though the situation is indeed dire, with the potential of genocide from poisoned grain to the implications of a Klingon operative in Federation ranks, the handling of the situation is fun and lighthearted. That treatment of what might turn into the usual sci-fi/Trek action is what enables "Tribbles" to become something more. The most action packed scene involves the bar fight started by Scotty after the Klingon insults the Enterprise.

Performances

Performances are what make this episode shine. So many people I know lambaste Bill Shatner's acting ability, but as I've said countless times, the man is a supremely talented actor whose range and ability is virtually unmatched in his peers and in many actors today. Shatner brought a wonderful sense of awe, adventure, and humanity to Kirk, and it's because of Shatner's portrayal that Kirk is a pop culture icon forty years later. Here Shatner anchors the episode's action with a Kirk who is frustrated but also able to kick back a little and not have to worry so much about saving the ship or the day. There are no vicious fights or demands on Kirk's formidable mind here, only struggles with annoying personalities. As for those personalities, they're brought to colorful life by a slew of actors who are wonderful in their own right. William Campbell's Captain Koloth is filled with arrogance and the usual Klingon posturing. William Schallert, best known for his role in "Patty Duke," is perfectly annoying as Nilz Barris. And finally, Stanley Adams fills the shoes of space con man Cyrano Jones, a character who would have been an entertaining recurring character, a la Harry Mudd. And it goes without saying that Leonard Nimoy and DeForrest Kelly do their usual great work in their roles. Both get hilarious lines throughout the episode, especially in the scene in which Bones and Spock argue about the effect of the Tribbles on humans.

Trektastic Moments

Where to begin? "The Trouble with Tribbles" is a celebration of the heart and spirit of Trek and its lightheartedness. There's Kirk's hilarious treatment of Nilz Barris, there's the proliferation of the Tribbles throughout the Enterprise and Spock's reaction to their soothing nature, there's the antics of Cyrano Jones and the bar fight. One of my favorite lines here in belongs to Scotty, who is able to tolerate insults to his captain but not his beloved Enterprise. When the Klingon calls the Enterprise a garbage scow, Scotty replies "Laddie, don't you think you ought to be...rephrasin' that?" Beautiful stuff. The writing is truly what makes "Tribbles" so enjoyable, and we see that writing in the sense of fun that actors are clearly having as they deliver their lines.

Overall

"The Trouble with Tribbles" is one of the top-ten finest hours of Star Trek, including the spin-off series. Solid writing, characterization, and just downright fun. Highest possible recommendation.

The episode's title card.



Spock is seduced by the cooing of a Tribble, if but briefly.


Scotty's famous line: "Laddie, don't you think you ought to be...rephrasin' that?," uttered just before he defends the honor of his lady, the Enterprise.


A beleaguered Kirk, chest-deep in Tribbles.

"Wolf in the Fold"

Captain's Log: 02110.7. 1905 hrs.

Kirk and McCoy have beamed down to planet Argelius Two to provide Scotty with sabbatical leave after the engineer received an accidental injury to the head. It seems Scott was left with a resentment towards women, which Kirk and McCoy believe can be alleviated through shore leave on Argelius. The three men watch a beautiful woman dance, and Kirk has arranged for Scotty to meet her. Scotty and the woman go for a walk through the fog-enshrouded streets of Argelius while Kirk and McCoy head to a cafe Kirk knows. Kirk and Bones don't make it far before a woman's scream pierces the night. They find the dancer dead, stabbed in the back, with Scotty in a daze, holding the knife. Chief City Adminstrator Hengist wants Scotty arrested for murder, especially after a female lieutenant is killed, also seemingly by Scotty. A planetary official, Jaris, allows his wife, Sybo, to use her natural psychic talents to determine what really happened. Sybo senses an entity she calls "Redjac" before being murdered herself. It's not long before Kirk and Co. realize that Redjac is real and was once known on Earth as Jack the Ripper, as well as a dozen other worlds by different names throughout the centuries. They also deduce that the entity feeds on primal fear. Kirk and Co. realize that Redjac is possessing Hengist before it flees its host and enters the Enterprise computers, threatening to kill everyone aboard. Kirk outwits the murderous entity by keeping the computer busy with an unsolvable equation, and Redjac returns to Hengist. Kirk beams Hengist's body out into space at a wide pattern of dispersal, ensuring that it is destroyed.

Story

"Wolf in the Fold" is a very unusual hour of Star Trek for a lot of reasons. There's an overriding sense of ominous malice from the first moment we leave the comfort of the cabaret and enter the foggy streets of Argelius II. This is intentional, as the author of the story, Robert Bloch, is the famed author of Psycho. This is an atmospheric and dark episode of Star Trek, and at times the episode creates a feeling of unease and terror that is not usually felt within the safe confines of the Enterprise or the other various familiar Trek settings. There's also the vicious murders of the women, and the "possession" of the Enterprise computer by Redjac. When Redjac possesses the computer and begins taunting Kirk and the crew, Hengist's voice, which was also already grating, is amplified and altered. The effect is unsettling, as well as Redjac's promise of death by "searing pain" for the entire crew.

The only oddity of the episode is the strange plot device that sees McCoy administer a tranquilizer to the crew to suppress their fear. While I understand why this device was needed from a story point of view, the implementation of the device is somewhat out of place. The crewmembers given the shot act comically, which is wholly out of place given the dark tone of the episode. It might have been better for the drug's effects to be portrayed as simple downers or complete tranquilizers instead of uppers causing the crew members to "trip." Nevertheless, "Wolf in the Fold" is one of the most well-written and effective episodes of Trek, dealing allegorically with the idea of the dark, murderous side of human nature, specifically, that of the male half of the species.

Action

There's some action in "Wolf in the Fold," but the main action to be had comes in the form of the "whodunnit" nature of the show, and the suspense brought on by the production design and deaths of the women.

Performances

James Doohan has to be commended here for making "Wolf in the Fold" a success. He plays a tortured, confused Scotty, and since his character is already so loveable and innocent, the events of this episode take on an even more chilling quality. John Fiedler must also be given credit as Hengist and as the voice of the Redjac entity. Fiedler is an odd looking man, and his piercing blue eyes and grating voice create a character who is at once interesting and repulsive. I was actually unsettled during the scene wherein Redjac possesses the Enterprise computer. The combination of the voice and the lights going on and off led to a horrible scene, as well as the cloudy image of Redjac itself on the monitor.

Trektastic Moments

The humor at the beginning and end of the episode, in which we see Kirk trying in vain to get to this "little cafe" he knows, is pure Trek. The same goes for the "acid trip" brought on by McCoy's drug, which is indicative of the 60s. And the linking of an alien creature to a historical being or event, in this case Jack the Ripper and Redjac, is a hallmark of Star Trek, seen first in "Who Mourns for Adonais?" and in later episodes. The other Trektastic Moment is the very 60s notion that simply getting Scotty some female attention will cure his resentment towards one woman who accidentally hurt him. Watching Kirk and McCoy play pimps is quite unique for Star Trek.

Overall

"Wolf in the Fold" is creepy, dark, and suspenseful, and even succeeds in being a little disturbing. Highest possible recommendation.

The episode's title card.

The beautiful dancing girl Kara, soon to be Redjac's first victim on Argelius II.

Kirk and McCoy enjoy Kara's dancing, but not nearly as much as Scotty.
Redjac shows itself on an Enterprise computer screen.

"Obsession"

"Obsession"

When members of a landing party are attacked and killed by a mysterious creature, Kirk realizes that the creature's description is similar to another creature that was responsible for killing half the crew of Kirk's first deep-space assignment, the U.S.S. Farragut. Among those killed was the Farragut's commander, Captain Garrovick, whose son now serves aboard the Enterprise as an ensign. Ensign Garrovick beams down with Kirk and another landing party to further investigate the creature, and hesitates in firing his phaser on the creature. Three men are killed by the creature, but Kirk and Garrovick survive. Kirk blames Garrovick for the deaths of the landing party, and has him confined to quarters. Meanwhile, McCoy and Spock confront Kirk about the incident on the Farragut, and learn that Kirk has blamed himself for years for the death of his former captain, who was a mentor to him. Kirk believes that he is to blame for the loss of Garrovick and crew because he hesitated in firing. The creature leaves Argus X and Kirk gives chase. The creature turns and fights, entering the ship and attempting to kill Garrovick. Spock stops the creature, who doesn't like Spock's copper-based blood, and returns to Tycho IV, its home planet, where it attacked the Farragut crew. Kirk and Garrovick use a large jar of human blood to bait the creature and then kill it with a matter/antimatter bomb. Kirk realizes that neither he nor Ensign Garrovick could have stopped the creature with conventional means. Both men are freed from their guilt, and Kirk offers to tell Ensign Garrovick some "tall tales" about his late father.

Story

"Obsession" is an important episode mainly in regards to Kirk. We learn here what his first command was and that it was a tragic experience, and that he's been haunted by it ever since. We also get to see the usually-balanced Kirk struggle with obsession somewhat, though it's important to note that Kirk is not obsessed here. Instead, he's a man on a mission, with clear goals and evidence to support those goals. "Obsession" succeeds in making us feel for Kirk and for Ensign Garrovick, especially as we see Garrovick repeating Kirk's earlier mistake of blaming himself for something he could not have prevented. The episode is a powerful look at the motivations behind human actions and our struggle to deal with things beyond our control.

Action

There's some action here, mainly in the form of the cloud's attack on the landing parties and the destruction of the cloud creature at the end of the episode. "Obsession" is a character-based story and as such does not rely overmuch on action.

Performances

Critical to this episode's success are Shatner and Stephen Brooks's performances as Kirk and Ensign Garrovick, respectively. Shatner brings a sense of taut conviction to Kirk, and plays the stress the captain is feeling wonderfully throughout the episode. Brooks does a great job of conveying Garrovick's frustration with himself and his perceived error.

Trektastic Moments

Man, do some Redshirts die here! By my count, three Redshirts die from the first landing party, and then another three die from the second! That's a total of six! It's crazy. There must have been a surplus of Redshirts running around in Starfleet. I jest, but these guys die to show that space is a dangerous place.

Overall

A poignant episode with a tense story and a haunted Captain Kirk. A+.

The episode's title card.


Dead Redshirts. It's sad, I know.


Ensign Garrovick, son of Kirk's first commanding officer, Captain Garrovick.



Kirk and Garrovick bait the vampire cloud.

"The Deadly Years"

While visiting planet Gamma Hydra IV to re-supply the scientific colony stationed there, Kirk, Spock, McCoy, Scotty, Chekov, and Lt. Arlene Galway are exposed to an unusual disease. The illness causes those exposed to age at a greatly accelerated rate. Spock determines that the radiation of a passing comet poisoned the scientists first, who then passed it to the Enterprise landing party afterwards. The two remaining scientists, both in their late twenties, age well into their eighties overnight and then die. McCoy can do nothing to save them and is able to do even less to save himself and the rest of the boarding party who also begin to age rapidly. Galway is the first to die, her youthful metabolism accelerating the aging process. Chekov is the only member of the party who doesn't get the disease, and McCoy works feverishly to determine why, realizing that therein lies the cure. McCoy is assisted by an old flame of Kirk's, Dr. Janet Wallace. In the meantime, Kirk's aging causes him to begin to falter in his command duties, leading Commodore Stocker, en route to his new command on Starbase 10, to ask Spock to convene a competency hearing regarding Kirk's command. Kirk is found unfit for command and relieve, and since Spock is also losing his faculties though at a slower rate, Stocker must take command. He orders the Enterprise through the Romulan Neutral Zone in an attempt to get the sick crewmembers to the Starbase 10 medical facilities as quickly as possible. As the Enterprise is pounded by a Romulan attack, McCoy realizes that what saved Chekov was adrenaline, as the young ensign was terrified by seeing the corpse of one of the dead scientists on Gamma Hydra IV. Kirk takes the antidote and is painfully but fully restored, and manages to reach the bridge in time to get a few last miles out of his "corbomite" gambit to save the Enterprise. The rest of the affected crewmembers are treated and return to normal.

Story

"The Deadly Years" is a well-loved Trek classic, dealing with the very human and identifiable issues of aging and the weakness of the human body. More importantly, the episode deals with how we humans deal with our bodies and minds as they betray us due to weakness, of which there is much. Kirk's struggle to stop the aging process with willpower and stubborn determination is compelling and poignant, especially in light of the later films' treatment of the issue of Kirk and Co.'s real aging years later. From "The Wrath of Khan" onward, there is no magic shot from McCoy to restore the Enterprise crew to youthfulness. In light of what's to come and in light of the voyages before it, "The Deadly Years" is a thought-provoking examination of the human journey of life which is the very heart of Star Trek.

Action

There's little in the way of phaser fights or hand to hand combat, but "The Deadly Years" is packed with drama and suspense. From the moment an aged Scotty walks into Sickbay, we know the race against time is on, and it's one that never stops. There's also Kirk's battle with his own faculties and Spock over command of the ship, and the Romulan assault on the Enterprise.

Performances

"The Deadly Years" is an episode that could not have been done without a talented, excellent cast. Shatner, Nimoy, and Kelly do an amazing job of playing vital and healthy men on a downward spiral towards infirmity and death. While the makeup used in this episode is highly effective, it's the performances of these three men who make the episode powerful. Shatner affects certain movements with his hands to suggest the pains of arthritis and also slurs his words and walks with an arched back. Nimoy squints and totters, and perhaps best of all, Kelley brings McCoy's southern drawl to the forefront as he ages and adds lip-licking and a toothless way of speaking to McCoy's repertoire. Today, these men would very likely win much-deserved Emmy awards for their performances. Charles Drake's performance as Stocker should also be mentioned, as he's able to make a character Kirk calls a "paper-pusher" a sympathetic man well out of his element.

Trektastic Moments

"The Deadly Years" is one big Trektastic Moment, beloved of Trekkers as "the episode where the crew ages rapidly." Kirk's line "I am the captain of this ship, and totally capable of commanding her" is a classic one, delivered during the competency hearing. The depiction of the beloved Trek heroes aging is considered some of the finest acting of the series.

Overall

"The Deadly Years" is classic Trek. Highest possible recommendation.

The episode's title card.


The first to fall victim to the aging illness: Scotty.


The aged Kirk, determined not to lose his command.


The aged McCoy, one of DeForest Kelley's best performances as McCoy.


The aged Spock, forced to put his captain on report while also struggling with the aging ailment.

Time flies at warp speed...

Captain's Log 02110.7. 0713 hrs.

It's hard to believe that The Trektastic Voyage has been trekkin' along for six months.

I started on September 8, 2006, and last Thursday, February 8th was the official mark of the halfway point.

I'm a little behind with the entries for last week, but I will have TTV on schedule by the end of this weekend.

It's been exciting to watch these episodes of Trek that I had seen in some cases, or in others, just thought I'd seen because I'd read and/or heard so much about them. And I continue to maintain that the original Star Trek is the finest science fiction TV show of our time. Sure, there have been more recent shows with better SFX and production values. But no show I've seen has yet to match the adventurous and compelling spirit of Star Trek, with its real people at the heart of stories about the human condition.

The Trektastic Voyage continues...

Chris

"Friday's Child"

McCoy briefs Kirk and the other members of the landing party about the Capellans, who McCoy studied years before his posting to the Enterprise. Kirk's mission is clear: secure Capella IV from forming an alliance with the Klingon Empire. All chaos breaks loose when Kirk disregards McCoy's warnings about interfering with the strict traditions of the Capellans and prevents the killing of Eleen, the pregnant wife of the deposed High Teer, Akaar. Kras, a Klingon trying to secure relations with the Capellans for the Klingon Empire, makes the best of the situation, leading to the landing party and Eleen becoming hunted criminals. Meanwhile, Scotty, in temporary command of the Enterprise, plays a game of cat and mouse with a mysterious vessel, which Scotty deduces is a Klingon scout vessel. McCoy delivers Eleen's unwanted baby while Kirk and Spock prepare to wage war against the Capellans with homemade bows and arrows. Kras kills the current Teer, and the Capellans kill Kras. Eleen has a change of heart and keeps her baby boy, who she names "Leonard James Akaar," who is named the new ruler. Kirk and crew leave Capella with relations secured with the Capellans and a proud Kirk and McCoy enjoying the fact that they have a boy named after them.

Story

This was my first time seeing "Friday's Child," and I was amazed by this episode. It's got everything from comedy, drama, and action. I was amazed how well this story works on all levels, and how it succeeds in giving all the cast members something to do. This episode is clearly a template for all the best Trek episodes that give the entire cast memorable roles and scenes. Its influence can be seen in the final four films to feature the original cast, which all balanced action and drama while featuring the entire cast in action critical to the story.

Action

There's action aplenty here in "Friday's Child." There's a great fight between the landing party and the Capellans at the beginning, Scotty's investigation of the distress call and his chase with the scout ship, and the final battle with the Capellans at the end.

Performances

Everyone shines here, especially the Big Three, who are all clearly loving the hell out of the material they've been given. Of special note is Julie Newmar's performance as Eleen, best known in the States as "Catwoman" in the "Batman" TV series which was a contemporary of Star Trek. She's spirited and beautiful, a typical Star Trek woman. I apologize beforehand, but "Meeoow!"

Trektastic Moments

I was telling my wife just how awesome this episode is in the Trektastic Moments department. She just nodded, but man, this one's got it all, folks. There's lively, classic banter between Kirk, Spock, and McCoy. I laughed out loud numerous times. In one scene, Kirk, Spock, and McCoy are bringing Eleen up the mountain to the safety of a nearby cave. Eleen only respects McCoy and won't let anyone else touch her, and McCoy laments, "I need some help here. I'm a doctor, not an escalator!" Following that is a scene wherein Kirk and Spock are making bows and arrows in the absence of their hand phasers. Spock comments to Kirk: "Fortunately, this tree bark has sufficient tensile cohesion." To which Kirk replies: "So you mean they'll make good bowstrings." To which Spock replies: "Is that not what I just said?" This is just classic, great stuff, courtesy of legendary Trek write D.C. Fontana.

One of my other favorite scenes occurs towards the end when McCoy is holding Eleen's son. It goes a little something like this:

McCoy: (to baby): "Oochie woochie coochie coo? Oochie woochie coochie coo!"
Spock: (to Kirk): "'Oochie woochie coochie coo,' Captain?"
Kirk: "Yes, 'oochie woochie coochie coo. An obscure Earth dialect. If you're curious, consult lignuistics."

That's solid gold dialogue right there, kids. There's nothing as inspired and warm as that on TV today and there likely won't be, outside of maybe Joss Whedon and J.J. Abrams, and even then, it's still not Fontana. Beautiful.

There's also the great little Chekov moment on the Enterprise during the pursuit of the Klingon vessel, wherein Pavel takes credit for a common saying, attributing to his Russian heritage. And lest I forget, the episode features a Redshirt death early on in the show! This episode is now one of my all-time Trek favorites due to the excellent writing and performances which mark it as truly classic Trek.

Overall

What more could you want? There's drama, tension, action, excitement, peril, and even comedy. Classic Trek in the mold of that which makes Trek what it is. Highest possible recommendation.

The episode's title card.

Dun dun dun, another Redshirt bites the dust!

The extremely sexy Julie Newmar. Wowzers. No wonder she was Catwoman!

"I'm a doctor, not an escalator!"
Kirk explains the obscure Earth dialect known as "oochie woochie coochie coo" to Mr. Spock.

"Journey to Babel"

The Enterprise is conveying a group of diplomats to a special conference on the planet Babel. Among the diplomats is Vulcan’s ambassador to the Federation, Sarek, and his human wife, Amanda. Kirk and McCoy are shocked when they learn that not only are Sarek and Amanda Spock’s parents, but that Spock and Sarek have long been at odds over Spock’s wish to join Starfleet. Spock acts even more unemotional than usual with his father and mother on board, while the Tellarite delegate is murdered by someone Spock concludes must have been a Vulcan, due to the method of killing. Sarek is the chief suspect, as he had argued with the Tellarite ambassador moments before his death. It's soon apparent that something is amiss with the conference about Corridan's admission to the Federation, as the Enterprise is attacked by a powerful and mysterious foe. Sarek reveals that he has a heart condition that will kill him. Spock is the only donor, but refuses to relinquish command since Kirk was attacked and stabbed by one of the Andorian delegates on board. Kirk returns to command despite his injuries, and McCoy races to perform the operation that will save Sarek while the Enterprise is battered by the mysterious ship's assault. Sarek is saved just as Kirk's quick thinking and tactical brilliance lead to the defeat of the enemy vessel. The vessel self-destructs and Kirk's would be assassin commits suicide to protect the mission. Spock deducts that the assassin and the ship were both of Orion origin, as the Orions would have had much to gain from keeping Corridan out of the Federation. Spock and Sarek are reconciled and the episode ends on a light note as McCoy gets the last word, ordering his captain and first officer to stay put in their beds.

Story

"Journey to Babel" is one of the greatest Star Trek episodes ever. It features action, comedy, intrigue, drama, and a constant flow of suspense. This a classic episode and one that adds to the mythology of the show by fleshing out the Trek universe and beloved Spock.

Action

Action's the name of the game in "Journey to Babel." We've got Kirk's fight with the pseudo-Andorian, which is one of the few fights that ends for Kirk in a stalemate, to the battering the Enterprise takes from the Orion ship, we've got an action-packed extravaganza here. There's also the powder-keg of tension as McCoy operates on Sarek and Spock while the Enterprise is under attack. This episode delivers a large order of action for those of us who hunger for it.

Performances

The standout performances here are from Mark Lenard as Sarek, Jane Wyatt as Amanda, and Leonard Nimoy as Spock. We also see great work from Shatner and Kelley, who bring a lot to their roles despite the fact that they take a back seat to the other action of the episosde.

Trektastic Moments

Perhaps the biggest Trektastic Moment is the introduction of Sarek and Amanda. Spock's parents would return to the series years later in "The Search for Spock" and "The Voyage Home," respectively. There's also the first appearances of the Tellarites and the Andorians, who we later learn are two of the founding races of the UFP. There's also the wonderful ending to the episode, where McCoy proudly states: "Well, what do you know? I finally got the last word!"

Overall

One of the finest hours of Trek in its forty year history. Highest possible recommendation.

The episode's title card.


The first appearance of Spock's parents, Sarek and Amanda.


Little gold midget dudes. They're of no significance, I just had to show 'em, 'cause they're little gold midget dudes. And they're making what look like potent little drinks. Crazy little gold midget dudes!


Tellarites and Andorians, oh my! The first appearance of two important Trek races.


Finally, McCoy gets the last word!

"Metamorphosis"

Kirk, Spock, and McCoy are transporting ailing Federation Commissioner Nancy Hedford aboard the shuttlecraft Galileo when its knocked off course by a strange cloud creature. The shuttle lands on planet Gamma Canaris N, where Kirk and crew meet Dr. Zefram Cochrane, the famed scientist who discovered the space-warp drive over one hundred years ago. At the age of eighty-seven, Cochrane decided he wanted to die in space and left his home planet of Alpha Centauri, only to be drawn by the cloud creature to Gamma Canaris N. Cochrane was restored to his youthful prime by the creature, which he calls the Companion. They’ve lived in peace together for 150 years, though the time has been lonely for Cochrane with no other human companionship. Kirk communicates with the creature by means of a universal translator of Spock’s devising, and learns that the Companion is in love with Cochrane. Cochrane rejects the love of the alien creature, desiring the human love of Nancy. The Companion unites with the dying commissioner, and Cochrane elects to live a normal life with the Nancy/Companion, neither immortal any longer, but both finally happy in the love each longed for.

Story

“Metamorphosis” is a sensitive and important Trek episode. It speaks to the prejudice we humans tend to have towards anything different from us by means of Kirk and Cochrane’s treatment of the Companion. Kirk is determined to kill the creature if that’s what’s necessary to save Hedford, and Cochrane rejects the creature’s love as invalid because of its alien nature. Yet in the end, both come to respect the creature in different ways after they confront their own initial reactions. The story is also a treatment of the nature of love and the human need for love.

Action

There’s little action in this episode, appropriately enough, considering it is a study of deep emotions and social issues.

Performances
All involved deliver in this area, though it’s Glenn Corbett as Cochrane and Elinor Donahue as Hedford who really deliver the goods. Both demonstrate a wide range of subtle emotions and succeed in the two roles which this episode demands the most from.

Trektastic Moments

The most significant moment here is Kirk, Spock, and McCoy’s meeting of Zefrem Cochrane, the inventor of warp drive. Cochrane’s introduction here is part of Star Trek’s mythos building, and is an element that would be revisited in numerous episodes through all of the spin-offs. Cochrane would return as a middle-aged man in the mid-21st century in the eighth Star Trek feature film, Star Trek: First Contact, which saw Cochrane interacting with the crew of the 24th century Enterprise-E of Star Trek: The Next Generation. Despite the success of that film and its overall compelling story, the “First Contact” Cochrane is difficult to reconcile with the Cochrance of this episode. Of late, I prefer to rule in favor of TOS and ignore much of what came after the final TOS film.

Overall

A moving and important episode in Trek lore. Highest possible recommendation.

The episode’s title card.



Zefrem Cochrane, inventor of the warp drive, and a man out of time.


Cochrane communes with The Companion.


Cochrane and NancyCompanion, perhaps the Adam and Eve of a new race of beings?

"I, Mudd"

Spock and McCoy pass a new crewmember, Mr. Norman, in the corridor and McCoy begins to complain to Spock that Norman is odd because he never shares any details about himself nor shows any emotion. Spock reacts almost as if he’s offended, and McCoy clarifies that Norman’s behavior is odd for a non-Vulcan. It turns out Norman’s behavior is odd in general, as he quickly incapacitates key personnel in Engineering and takes control of the Enterprise. Norman informs Kirk that to attempt to free the ship would lead to its destruction, so for four days, Kirk and crew should just sit back and enjoy the ride. The Enterprise arrives at an unknown planet, where they discover that Norman is an android, along with the other thousand inhabitants of the planet. All except their very human leader, “Lord” Harry Mudd, who previously plagued Kirk and his crew. Mudd crash-landed on the planet and became the object of the androids’ study of human behavior. The androids eventually reveal that they wish to free humanity from its own self-destructive desires by enslaving the galaxy. To Kirk’s dismay, their seizing of the Enterprise is the first step towards this goal. The androids reject Mudd as their leader, and he aids Kirk, Spock, McCoy, Uhura, Scotty, and Chekov in defeating the androids. They give android leader Norman a short by displaying illogical behavior, and take out the rest of the populace in the process. Kirk “sentences” Mudd to stay with the androids until he can better himself, and assigns multiple copies of Mudd’s android recreation of his ex-wife as his personal “counselor.”

Story

An old reference book, “The Star Trek Compendium,” reports that the cast and crew had a great deal of fun in the production of “I, Mudd,” and it certainly shows. That fun is contagious and leads to an enjoyable if rather empty story. Their is the slimmest of morals to be gained from this episode, namely, be careful what you wish for, a lesson Harry Mudd learns all too well. This is a much needed comedic respite in a season replete with heavy episodes, many of which would follow.

Action

There’s Norman’s commandeering of the Enteprise at the beginning and that’s about it. This is an episode about comedy and there’s not much action to be had.

Performances

Everyone is clearly enjoying themselves here, and everyone (except George Takei. Where the hell is Sulu?) gets something to do here. Trekkers love the episodes and films where the whole cast gets serviced, and “I, Mudd” is one of those episode, though poor George is sorely missed. He should’ve been in the scene with Chekov and the lovely android ladies. Roger C. Carmel returns as Mudd and offers another hilarious performance as the shifty con man. Everyone does a great job with their comedic roles, and Richard Tatro does a fantastic job as the ever-stoic Norman.
Trektastic Moments

There’s a whole bunch of Trektastic Moments here. We have some great comedic lines from Spock, a flustered and frustrated Kirk, and moments for all of the cast members but Takei. My favorite TM here has to be Kirk’s wonderful “What is a man?” speech, delivered with Shatner’s characteristic acting skills. And yes, I really mean that.

Overall

A lighthearted romp that’s sure to delight even the most skittish non-Trek fans. A solid A.

The episode’s title card.



Norman's android innards.


"Lord" Harry Mudd, and his lovely android assistants, members of the "Alice" series.


Mudd's android approximation of his ex-wife, Stella. Yikes.

"Catspaw"

"Catspaw"

The Enterprise is in orbit of planet Pyris VII, where a landing party mission has gone horribly wrong. One of the landing party members beams aboard, clearly dead, turned into a mannequin of sorts, with a warning of death for Kirk and his crew. Sulu and Scotty, who were also part of the landing party, are missing. Kirk beams down with Spock and Bones, encountering three floating witch heads, which appear to be the witches from Shakespeare’s “Macbeth.” Undaunted, the trio continue looking for their crewmembers when they encounter a castle in the gothic tradition. They enter and find Scotty and Sulu, transformed into “zombies.” The whole operation is being run by two aliens, Korob and Sylvia, who hail from another dimension but who have assumed human form. Sylvia clearly wears the pants in the family and uses supernatural devices in an attempt to hopefully frighten the Enterprise crew. Spock is unaffected by the black cats and other magic, including a miniature version of the Enterprise that Sylvia uses in a Voodoo doll fashion. Kirk deduces the source of the aliens’ power, and eventually defeats them. They appear in their true forms as tiny little creatures no bigger than a foot high, and are then killed by the planet’s atmosphere. Sulu and Scotty are freed from the “spell,” and the crew’s “Halloween” adventure is over.

Story

Well, I gotta be honest here. In all Star Trek series, there remains one universal constant: some episodes are so bad, they can only be watched once. “Catspaw” is one of those episodes, at least to me. I watched “Catspaw” twice, once during the inaugural marathon of The Trektastic Voyage, and again when the remastered version of the episode was released the weekend before Halloween. That was one more time than I needed to watch this episode, so I didn’t re-watch it when it appeared on the schedule for TTV.

It’s not that this is a terrible episode, it’s just that it’s dwarfed by the giants that are other second season episodes. It’s not particularly important in Trek lore, nor is it really trying to say anything new or of particular interest. It was originally intended as Trek’s Halloween episode, and that’s all it is, with a few tricks but not many treats. It has some decent SFX and a few humorous moments, but that’s all. It seems there are a few similarities in setting and tone to “The Squire of Gothos,” but Trelane’s personality and charm bring depth and energy to that episode. There’s nothing in “Catspaw” to do the same.

Action

There’s action to be had in “Catspaw,” but not much. A giant black cat threatens to uh, well, look menacing and growl, there are some crumbling floors and the aliens’ have that power wand thing.

Performances

It’s hard to say without researching it, but I think the regulars are king of just phoning this one in. And with good reason, as they’re not given much to do here. Takei and Doohan spent most of the time playing silent roles as zombies, and Shatner gets the most time interacting with Nimoy and Kelley, as well as his romancing with the actress who plays Sylvia. I’m sure the cast had fun doing the episode, but it doesn’t show in the final product.

Trektastic Moments

Probably the only moment worthy of note here is the scene where Kirk and Spock are hanging from manacles in the “dungeon.” Kirk turns to look for McCoy and says “Bones,” only to turn and find exactly that: a skeleton in the manacles where McCoy had been earlier. The scene should be hilarious, and it is a laugh out loud moment, but for some reason, Kirk doesn’t make a joke about it to diffuse the situation, which would have led to some banter with Spock, i.e., humor. Sadly, this wasn’t the case. Overall

Overall
If this episode would have had the characters having a little more fun with the situation, it might be a better one, but they’re all as gloomy as the castle and other Halloween surroundings. A solid D for “Catspaw.”

The episode’s title card.


All those times the safety of the Enterprise was hanging by a thread. Here, the Enterprise itself is hanging by a chain, Star Trek's version of the Voodoo doll.


Kirk turns to look for “Bones,” but finds some other bones entirely. A moment that should’ve been played with much more comedy.


Sylvia and Korob in their true forms. Is it just me, or do they look like catnip chew toys for cats? Kina ironic, given the title of the episode.

"The Doomsday Machine"

The Enterprise is investigating the mysterious annihilation of numerous star systems when it comes upon the shattered hulk of one of its sister ships, the Federation Starship Constellation. Kirk beams aboard and finds the Constellation’s commander, Commodore Matthew Decker, in a state of shock. Decker is the only member of the Constellation’s crew still aboard. Decker recounts what became of his crew, how he beamed his people down to the planet below because the Constellation was severely damaged. Tragically, the planet was destroyed by what Decker refers to as a “planet killer,” a massive robotic device capable of destroying entire planets. Kirk tries to get the Constellation up and running while Decker returns to the Enterprise for medical treatment. Decker quickly pulls rank and tries to take command of the Enterprise in an Ahab-like quest to destroy what Kirk called “the doomsday device.” Kirk contacts the Enterprise and authorizes Spock to assume command. A desperate Decker steals a shuttlecraft and runs a kamikaze attack on the planet-killer, causing little damage and killing himself in the process. Kirk decides to try the same tactic, this time with the awesome energies of the Constellation’s now-working matter-antimatter warp drive. Kirk is beamed off at the last minute as the Constellation literally rams down the maw of the Doomsday Machine, destroying it forever.

Story

“The Doomsday Machine” is an epic episode, which offers everything one could want from story: human drama, intrigue, and action. Characters with real flaws and feelings are at its core, and as a result, it is one of the finest hours of Trek ever.

Action

Holy crap, is there ever action in “The Doomsday Machine.” It never lets up. From the moment we learn of the mystery of the destroyed star systems, we know something is up and the intensity and suspense level ratchets up. There’s horror, suspense, and high drama in this episode. We have the Enterprise’s mad run against the Doomsday Machine under the equally mad command of Commodore Decker, we have Decker’s suicide shuttle attack, and we have the last-minute beam out of Captain Kirk as the once-mighty Constellation makes her final voyage into the belly of the beast.

Performances

The performances in “The Doomsday Machine” are top notch all around. The regulars are all at the top of their game, and William Windom’s performance as Decker is one of the finest in the entire series. It’s not easy to run the gamut of emotions required by Decker’s role, but Windom does so and more, anchoring the entire dramatic and tragic tale of which he is the emotional center. Shatner does a terrific job of playing a Kirk who is tormented by what his old friend Decker has become, and at the possibility of what he might become, should he not succeed in yet again finding a way to cheat death at its own game.

Trektastic Moments

“The Doomsday Machine” is itself one big Trektastic Moment, a true classic of the series. We have a tense, brooding, and determined Kirk, who will not give up in his search for a way to stop the seemingly-unstoppable foe he’s up against. We have the ever-loyal Spock and the ever-irascible McCoy, who are briefly at odds over Decker’s temporary command of the Enterprise. We also have Scotty feverishly working to bring about one of his many miracles, a Trek mainstay from early on in the series.

A nice bit of continuity would later be established years later in the first Star Trek motion picture, which featured Commodore Decker's son Captain Willard Decker as the new captain of the Enterprise, a major role in the film. "The Motion Picture" will come later on in The Trektastic Voyage, around August of 2007.

Overall

“The Doomsday Machine” has tremendous acting, drama, and suspense, and a haunting emotional core. Highest possible recommendation.

The episode’s title card, featuring a painful shot of the shattered wreck of the U.S.S. Constellation.


The heroic and tortured Commodore Willard Decker.


The killer beast of the star-seas, the Doomsday Machine.